I wholeheartedly recommend The President: a brilliant revival of a play of decay, terror and revulsion

By Alexander Howard, University of Sydney

Decay, terror, revulsion. These are three of the central themes of Thomas Bernhard’s rarely performed play The President.

The Austrian is one of the greatest writers of the 20th century, best known in the English-speaking world as a novelist.

As literary scholar Rita Felski puts it, Bernhard’s oeuvre is generally thought of as “an oceanic heave of venom, disgust, bitterness, and loathing”.

By the same token – and this is something Felski neglects to mention – his writing can be extremely funny.

One of the great strengths of the Sydney Theatre Company’s captivating revival of the 1975 play, co-produced with Dublin’s Gate Theatre, is how it manages to balance both these aspects of Bernhard’s writing.

Directed by Ireland’s Tom Creed, the production also features two exceptional lead performances.

Hugo Weaving plays the leader of a middling, unnamed country somewhere in Europe. Grandiose and boastful, Weaving’s titular president spends half of the play hiding away in Portugal and refuses to concede his days are numbered. He insists, against all odds, he can somehow “win it all back”.

Meanwhile, Olwen Fouéré’s furious first lady spends her time physically and emotionally tormenting her maid, Mrs Frolick (Julie Forsyth), while monologuing endlessly and ominously on the topics of hate, torture and the liquidation of shadowy political factions.

A complex writer

Bernhard was born in 1931 and died in 1989. Through childhood and adolescence he was unhappy and suffered from a host of life-threatening lung ailments. Eventually, his tuberculous-damaged lungs put paid to his youthful musical aspirations of being an opera singer, so he turned to writing.

After stints as a courtroom reporter and journalist, he started publishing poetry. His debut novel, Frost (1963), made him famous. His theatrical breakthrough came in 1970, with his first full-length play, A Feast for Boris.

Throughout his career, Bernhard’s feelings about his homeland were complex and fraught.

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